We Speak Music
Eleanor Unleashes Stunning New EP ‘There’s No Quiet, There’s Little Relief’
Eleanor’s There’s No Quiet, There’s Little Relief doesn’t ask for your attention — it demands it, with a steady, storm-brewing intensity. Across seven stunning tracks, the rising artist builds a world that’s equal parts intimate confession and cinematic spectacle. You don’t just listen to this EP — you step into it, like walking into a velvet-curtained theatre moments before the curtain lifts on something heartbreaking, beautiful, and brave.
Rooted in blues and classical but dressed in the polish of modern alt-pop, the EP offers a rich palette of sound and emotion. Opener ‘Ghost’ eases you into the haze, Eleanor’s voice drifting like smoke over minimal textures. But it’s ‘Cold Day in Hell’ where things start to quake — a brooding, simmering track that burns slow and deep. From there, the EP shapeshifts with confidence: ‘Prey’ swells into orchestral grandeur, while ‘Copper’ glows with quiet melancholy, each song revealing a new corner of Eleanor’s emotional architecture.
The standout, ‘Sugar’, pulses with a different kind of energy — sultry, groove-heavy, and full of sly self-awareness. With its slinky bassline and playful vocal phrasing, it’s a song that knows exactly what it’s doing, striking a perfect balance between temptation and vulnerability. It’s also where Eleanor lets loose the most, offering a rare moment of swagger among the shadows. There’s a clear sense that she’s not afraid to poke fun at her own emotional chaos — and that makes the chaos all the more real.
But it’s the EP’s final act — the two-part ‘Stuck on Loving You’ — that truly cements its emotional core. Starting with a stripped-down, aching intro before rising into full orchestral release, it captures that impossible feeling of loving someone who’s long gone. The strings swell, the harmonies ache, and Eleanor’s voice — always expressive, always raw — cracks in just the right places. It’s catharsis through sound, heartbreak turned into high art.
There’s No Quiet, There’s Little Relief is a remarkable debut statement from an artist who understands the power of contradiction — softness and strength, elegance and ache, control and collapse. Eleanor has built something fearless here: a deeply personal collection that doesn’t shy away from the mess, but instead turns it into something lush, immersive, and unforgettable. This is not just music to hear — it’s music to feel.
We Speak Music
Megan Burke Turns Personal Experience into Pop Catharsis on ‘Not All Men, Apparently’
Megan Burke’s debut EP Not All Men, Apparently arrives with a title designed to provoke conversation, but beneath its pointed framing lies a deeply personal collection of songs rooted in lived experience. The project sees the Irish artist tackling themes of heartbreak, deception and emotional recovery with an unfiltered honesty that has become increasingly rare within contemporary pop.
Produced by Hungarian hitmaker Áron Somody, the EP documents Burke’s journey through a series of difficult relationships, transforming private frustrations into universally relatable songwriting. Rather than presenting neat resolutions, the songs lean into complexity, examining the lingering impact of toxic dynamics while charting a gradual path towards self-awareness. It is this willingness to confront uncomfortable truths that gives the record its emotional weight.
Among the collection’s standout moments is Make Me, the focus track that introduces a welcome sense of levity. Written as a break from the darker material surrounding it, the song captures a more playful side of Burke’s personality, embracing independence and spontaneity without abandoning the candid perspective that defines the wider project. Its inclusion adds balance to a release that might otherwise feel relentlessly introspective.
Burke’s rise has been built largely on her ability to connect directly with audiences, amassing a substantial online following while earning notable milestones including a No.1 iTunes chart position and performances at some of Ireland’s biggest venues. With Not All Men, Apparently, she delivers her most cohesive artistic statement yet, confirming her status as a compelling new voice in Irish pop and a songwriter unafraid to tell difficult stories.
-
We Speak Music3 days agoBitter Blue’s ‘Port Wine Blood’ Is An Emotional Honesty in a Haze of Sound and Memory
-
We Speak Music1 week agoAustyn Gillette Finds Meaning In The In-Between On ‘Moments’
-
We Speak Music7 days agoAudioGust Drops New Single ‘Amaze You’
-
We Speak Music7 days agoTwin Phase Unleash New Single ‘One Way Out’